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Journal articles on the topic 'Visual art'

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Published: 4 June 2021
Last updated: 25 May 2024

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1

Wilson, Fred. "Visual Art." Callaloo 33, no. 4 (2010): 1021–28. http://dx.doi.org/10.1353/cal.2010.0067.

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2

Greenfield, Gary, and Penousal Machado. "Ant- and Ant-Colony-Inspired ALife Visual Art." Artificial Life 21, no. 3 (August 2015): 293–306. http://dx.doi.org/10.1162/artl_a_00170.

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Ant- and ant-colony-inspired ALife art is characterized by the artistic exploration of the emerging collective behavior of computational agents, developed using ants as a metaphor. We present a chronology that documents the emergence and history of such visual art, contextualize ant- and ant-colony-inspired art within generative art practices, and consider how it relates to other ALife art. We survey many of the algorithms that artists have used in this genre, address some of their aims, and explore the relationships between ant- and ant-colony-inspired art and research on ant and ant colony behavior.
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3

Layne, Sara Shatford. "Artists, Art Historians, and Visual Art Information." Reference Librarian 22, no. 47 (November 1994): 23–36. http://dx.doi.org/10.1300/j120v22n47_03.

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4

Kindler, Anna M. "Visual Culture, Visual Brain, and (Art) Education." Studies in Art Education 44, no. 3 (April 2003): 290–96. http://dx.doi.org/10.1080/00393541.2003.11651745.

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5

Singh Chauhan, Bijender. "CREATIVITY IN VISUAL ART." International Journal of Research -GRANTHAALAYAH 3, no. 1 (January 31, 2015): 37–40. http://dx.doi.org/10.29121/granthaalayah.v3.i1.2015.3051.

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This paper examines the nature of creativity in visual art. Creativity requires originality and effectiveness in the work of art whether it is a design or a painting. Originality is undoubtedly required. It is often labeled novelty, but whatever the label, if something is not unusual, novel or unique, it is commonplace, mundane or conventional. It is undoubtedly cannot be called creative work. According to my opinion, creativity requires confluence of some instinct like intellectual abilities, knowledge, and style of thinking, personality, motivation and environment. It varies across time and place but nature of creativity essentially the same around the globe.
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6

Dorot, Ruth. "Visual Dignity in Art." Journal of Education Culture and Society 11, no. 1 (June 27, 2020): 241–54. http://dx.doi.org/10.15503/jecs2020.1.241.254.

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Aim. The aim of this article is to deal with visual dignity in the field of western art throughout the ages as it seeks to present the artistic and design devices employed by artists in order to compose and convey this aura of dignity. Moreover, it addresses the ways in which they create various kinds of atmosphere of respect and dignity felt by the observer regarding the topic and object of the painting or sculpture. Methods. In order to achieve this aim, the article examines seven masterpieces which explore the visual representations of various perceptions of dignity and their implications. Among the elements affecting the creation of dignity in the visual domain one finds: an impressive or majestic appearance, noblesse, self-esteem, pride, self-confidence, inner strength, authoritativeness and charisma. At times, the respectful treatment of the figures is clear as soon as one views the work, but at others it is implied in the interpretation given to it. It is not this article's intention to discuss the different perceptions or expressions of human dignity, historically, theologically, politically, psychologically, nationally or socially, but to present them artistically as they are the innate right of people to be appreciated, treated with courtesy and met with ethical behavior. Results and conclusion. The research done in order to reach a conclusion confirming or contradicting the premises at its base, resulted in a mosaic of situations in which human dignity is reflected. The range of possibilities at the artists’ disposal for creating this value is diverse and includes: composition, use of color, mimesis, embellishment, disfigurement or distortion of reality. The pieces examined present: a military commander at the moment of his foe's surrender; an author monumentally impressive, man of vision and power and of grand dimensions, rising up from a stone plinth; a stern-faced, disfigured dwarf considered a ‘curiosity’, seated on the ground; a family of farmers living an impoverished and meager life; and a Jesus-like mysterious intellectual and Moses the prophet. All these together at first glance appear to be a strange collection of works, in which the common denominator is unclear or seemingly absent. However, this diverse group is included in the article because of the aura of dignity the figures command or convey. At times, the respectful treatment of the figures is clear as soon as one views the work, but at others it is implied in the interpretation given to it.
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7

Lewis, Paul. "Visual Art as Theology." Tradition and Discovery: The Polanyi Society Periodical 22, no. 1 (1995): 31–32. http://dx.doi.org/10.5840/traddisc1995/199622134.

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8

Čolakov, Nevena. "Art and visual arts." Sinteze, no. 14 (2018): 67–78. http://dx.doi.org/10.5937/sinteze7-17339.

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9

Winter, Irene J., and Henri Zerner. "Art and Visual Culture." Art Journal 54, no. 3 (1995): 42. http://dx.doi.org/10.2307/777582.

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10

Feinstein, Hermine. "Art as Visual Metaphor." Art Education 38, no. 4 (July 1985): 26. http://dx.doi.org/10.2307/3192822.

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11

Emmer, Michele. "Art and Visual Mathematics." Leonardo 27, no. 3 (1994): 237. http://dx.doi.org/10.2307/1576060.

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12

Cherry, Deborah. "ART HISTORY VISUAL CULTURE." Art History 27, no. 4 (September 2004): 479–93. http://dx.doi.org/10.1111/j.0141-6790.2004.00434.x.

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13

Cherry, Deborah. "Art history visual culture." Art History 27, no. 4 (September 2004): 691. http://dx.doi.org/10.1111/j.0141-6790.2004.444_1_1.x.

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14

Jyrämä, Annukka, and Anne Äyväri. "Marketing contemporary visual art." Marketing Intelligence & Planning 28, no. 6 (September 21, 2010): 723–35. http://dx.doi.org/10.1108/02634501011078129.

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15

Surakul, Saral. "Visual Art, 1st Place." Journal of Interior Design 36, no. 1 (September 8, 2010): 57–59. http://dx.doi.org/10.1111/j.1939-1668.2010.01052.x.

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16

Gloeckler, Tad. "Visual Art, 2nd Place." Journal of Interior Design 36, no. 1 (September 8, 2010): 60–62. http://dx.doi.org/10.1111/j.1939-1668.2010.01053.x.

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17

Hawthorn, Elwyn W. "Art and Visual Philosophy." Journal of Aesthetic Education 29, no. 1 (1995): 95. http://dx.doi.org/10.2307/3333521.

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18

Slowik, Mary. "Art beyond the Visual." Senses and Society 7, no. 1 (March 2012): 95–98. http://dx.doi.org/10.2752/174589312x13173255802201.

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19

Silva, Elizabeth B. "Distinction through visual art." Cultural Trends 15, no. 2-3 (June 2006): 141–58. http://dx.doi.org/10.1080/09548960600712942.

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20

Sütterlin, Christa, Wulf Schiefenhövel, Christian Lehmann, Johanna Forster, and Gerhard Apfelauer. "Art as behaviour – an ethological approach to visual and verbal art, music and architecture." Anthropologischer Anzeiger 71, no. 1-2 (March 1, 2014): 3–13. http://dx.doi.org/10.1127/0003-5548/2014/0371.

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21

Tjhin, Santo. "Visual Art And Technology URBAN SCREEN AS A VISUAL ART AND ADVERTISING AREA." Asia Proceedings of Social Sciences 5, no. 1 (December 3, 2019): 33–39. http://dx.doi.org/10.31580/apss.v5i1.1077.

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Jakarta is a big city in Indonesia, a modern or developed city is a city whose development is sustainable and has the role of being an icon for the country. Jakarta has an important role and function in supporting the national economy in addition to being an icon for Indonesia. It’s role as the capital of the country also adds to its appeal, this encourages improvement both in terms of the appearance of the building and in following technological developments. Buildings and malls in Jakarta, offering a variety of products and gathering places for urban communities, where urban communities are born out of interest, atomized (united but anonymous), and there is a reciprocal (cause-and-effect) relationship with urban spatial planning, architecture and design that shapes characters the community. Improvements carried out by buildings and malls in the city of Jakarta, by building Urban Screen LED Facade. Light Emitting Diode or LED has an important role in changing the appearance of buildings to be more beautiful and attract attention as a reflection of developed and modern cities, in addition it also acts as a media advertising. So it is expected to increase added value, the value of communication and cultural exchange. With the placement of the urban LED screen, the Jakarta Building and Mall hopes to create a metropolitan building that is sparkling and has aesthetic value, so that it is worthy of being an icon of the city of Jakarta.
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22

Mat, Mohamad Faizuan. "Knowledge of Art in Malaysian Contemporary Visual Art." Journal of Visual Art and Design 9, no. 1 (June 2017): 38–48. http://dx.doi.org/10.5614/j.vad.2017.9.1.4.

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23

Freedman, Kerry. "Visual Art/Virtual Art: Teaching Technology for Meaning." Art Education 50, no. 4 (July 1997): 6. http://dx.doi.org/10.2307/3193647.

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24

Mironova, Tatiana. "Plurality the types of art in contemporary art: specifics of media art." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 139–48. http://dx.doi.org/10.32461/2226-3209.2.2021.239992.

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The purpose of the article is to study the types of artistic creativity in modern fine arts, taking into account the specifics of media arts. The methodology is the cultural-semiotic analysis of the forms of manifestation of visualization of modern art culture. The application of a systematic approach allowed us to study semiotic systems that contribute to the comprehensive disclosure of the problem of the semantics of modern forms of visualization. The scientific novelty of the work is to understand the specifics of the new media arts, taking into account their interactivity, network communication, and virtuality. Conclusions. The interaction of visual art forms and interactive technologies is a combination of artistic manifestations with visualization and programming, so, unlike the processes of classical education, this art practice, in addition to the artist, requires group work of specialists in various fields. Artists working in new forms of visual art play the role of "director" of the project, embodying their own artistic ideas in collaboration with other participants. The actualization of the art of new media is manifested primarily through the expansion of artistic creativity and the creation of multimedia projects that combine VR, AR technology, animation, and traditional shaping and drawing. Therefore, modern visual arts are becoming a powerful tool and communicative tool of modern culture. Today, Ukrainian artists are actively using visual images as central elements of visual culture. Since modern cultural communication significantly influences the formation, providing the composition and translation of cultural values, with the help of visual images artists are able to more accurately express the idea of the work, to make it understandable to the maximum number of viewers.
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25

k, k. "Contemporary Media Art Performance under the Visual Threshold of Interpretation." Northeast Asian Business and Economics Association 4, no. 2 (November 30, 2023): 65–72. http://dx.doi.org/10.51156/jnabe.2023.4.2.65.

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Purpose - Introduce contemporary media art, study the virtual representation forms of contemporary media art, and deeply explore the artistic meanings expressed by their forms of expression. Design/Methodology/Approach - Based on the characteristics of artistic expression such as innovation and interactivity, this article applies the three elements of understanding, interpretation, and application in hermeneutics theory to interpret multimedia art works. Findings - This article analyzes contemporary media art works from three dimensions of hermeneutics: understanding, interpretation, and application. The conclusion is that artists express their desire for balance and wisdom, their perception of the world's spiritual state through multimedia forms, and also enable readers to associate and make independent judgments about the works, thereby exploring their own spiritual world and perceptual experience. At the same time, participants themselves are also creating meaning, interpreting value, completing perception, determining intention, and jointly explaining the humanistic value and responsibility of the work with the artist. Research Implications - The study of cultural communication at the visual level plays an important role in the development of social information. Multimedia image visual art has been integrated into daily aesthetic life in the form of popular culture, becoming the most important carrier for exploring artistic life. This article combines theory and practice, using typical art cases for specific analysis, in order to better apply contemporary multimedia art theory to artistic creation, and provide fresh materials and beneficial attempts for the research of digital media art application theory.
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26

Septyana, Risa, and Tantra Sakre. "The Painting "Jamuan Kerinduan" by Nurali, a Regional Artist Who also Enlivens Contemporary Art in Indonesia." IMAGIONARY 1, no. 1 (October 31, 2022): 16–21. http://dx.doi.org/10.51353/jim.v1i1.677.

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This writing is motivated by the art world today, that contemporary art is an art movement that gives freedom to art connoisseurs and art creators in creating works and assessing beautiful art. Independence which gives freedom to work, both in terms of: concept of work, ideas, visual/visual forms, techniques, character of visual language, freedom of expression, and other freedoms. The purpose of this paper is to find out the results of the analysis of visual forms in contemporary paintings. Where the discussion is focused on the artist Nurali and examines one of his paintings entitled "Jamuan Kerinduan". The results obtained in writing are to examine the visual analysis of the painting using art science and the principles of contemporary art. The conclusion is the result of an analysis by using art science on the principles of contemporary art, the painting "Jamuan Kerinduan" by Nurali and that work, entered into contemporary art which has the freedom to work, both freedom in images/visuals, techniques, concept and so on. Has distinctive features and characteristics according to the concept of its creator. The depiction of marginal creatures/figures, the hallmark of Nurali's depiction is the depiction of humans, which becomes the concept of the work that comes from an understanding of the surrounding environment.
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27

Mitrović, Slađana. "The Wound in Visual Art." Monitor ISH 17, no. 2 (November 3, 2015): 73–94. http://dx.doi.org/10.33700/1580-7118.17.2.73-94(2015).

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The fine arts abound in images of the pierced, wounded, tortured, dismembered, crippled or decapitated body in all historical periods. The iconography of the wound is of long standing, and the passion for depicting open bodies can only be compared to the enthusiasm for the nude. In the history of painting and sculpture, the wounded body is most often represented in renditions of Christ’s Passion and Christian martyrs, as well as of Biblical stories about decapitation and slaughter. The topic of the wound has proved relevant to modern and contemporary art as well. In the second half of the 20th century, around 1965, when the Viennese Actionism appeared, as well as between 1968 and 1974, the two milestone dates of body art, artists engaged in performative practices, shattering the notions of the wounded or penetrable body which dominated at the time. What they exposed was the anxious image of the artist’s body. By analysing the art photos by Rudolf Schwarzkogler, the paper shows how the wound is materialised as a topic of visual art.
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28

Barry, Jackson. "Semiotics, Visual Art and Language." American Journal of Semiotics 9, no. 4 (1992): 141–49. http://dx.doi.org/10.5840/ajs19929413.

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29

Schildkrout, Enid. "Body Art as Visual Language." AnthroNotes : National Museum of Natural History bulletin for teachers 22, no. 2 (September 12, 2014): 1. http://dx.doi.org/10.5479/10088/22380.

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30

Barnard-Wills, Katherine, and David Barnard-Wills. "Invisible Surveillance in Visual Art." Surveillance & Society 10, no. 3/4 (December 14, 2012): 204–14. http://dx.doi.org/10.24908/ss.v10i3/4.4328.

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Contemporary art has recently started to engage with surveillance. Before this trend developed art theory had developed a rangeof approaches to understanding identity in art, sometimes borrowing from social, psychoanalytic and political theory. Art work atthe intersection of surveillance and identity tends to focus upon the representation of the human body as subject of surveillanceand bearer of identity. However, contemporary surveillance is data, categorisation and flows of information as much as it isCCTV and images of the person. There are notably fewer works of art that engage with ‘dataveillance’. This paper engages withsuch artwork as a case study for assessing the suitability of contemporary art historical theories of identity to make sense ofidentity in a surveillance society.
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31

Wenger, Robert. "Visual Art, Archaeology and Gestalt." Leonardo 30, no. 1 (1997): 35. http://dx.doi.org/10.2307/1576374.

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32

Duncum, Paul. "Clarifying Visual Culture Art Education." Art Education 55, no. 3 (May 2002): 6. http://dx.doi.org/10.2307/3193995.

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33

Kennedy, Brian. "Visual Arts: North: Killer Art." Circa, no. 97 (2001): 13. http://dx.doi.org/10.2307/25563723.

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34

Dunne, Aidan. "Visual Arts: South: Shocking Art." Circa, no. 101 (2002): 5. http://dx.doi.org/10.2307/25563836.

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35

Dunne, Aidan. "Visual Arts: South: Lucrative Art." Circa, no. 103 (2003): 18. http://dx.doi.org/10.2307/25563906.

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36

Kalantari, Bahman. "A new visual art medium." ACM SIGGRAPH Computer Graphics 38, no. 3 (August 2004): 21–23. http://dx.doi.org/10.1145/1015999.1016002.

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37

Hyman, J. "Pictorial art and visual experience." British Journal of Aesthetics 40, no. 1 (January 1, 2000): 21–45. http://dx.doi.org/10.1093/bjaesthetics/40.1.21.

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38

Lyas, C. "The Classification of Visual Art." British Journal of Aesthetics 41, no. 4 (October 1, 2001): 457–58. http://dx.doi.org/10.1093/bjaesthetics/41.4.457.

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39

Nevins, A., and J. E. Jones. "Large Scale Visual Art Workshop." Gerontologist 36, no. 6 (December 1, 1996): 835. http://dx.doi.org/10.1093/geront/36.6.835.

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40

HUGHES, PHILIP. "Visual Education and Art Education." Journal of Art & Design Education 8, no. 1 (March 1989): 37–44. http://dx.doi.org/10.1111/j.1476-8070.1989.tb00740.x.

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41

Hinrichsen, Klaus E. "Visual art behind the wire." Immigrants & Minorities 11, no. 3 (November 1992): 188–209. http://dx.doi.org/10.1080/02619288.1992.9974795.

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42

MICHELIS, A. "12 Art and Visual Cultures." Year's Work in Critical and Cultural Theory 11, no. 1 (January 1, 2003): 162–78. http://dx.doi.org/10.1093/ywcct/mbg012.

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43

Hertzmann, Aaron. "Visual Indeterminacy in GAN Art." Leonardo 53, no. 4 (July 2020): 424–28. http://dx.doi.org/10.1162/leon_a_01930.

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This paper explores visual indeterminacy as a description for artwork created with Generative Adversarial Networks (GANs). Visual indeterminacy describes images that appear to depict real scenes, but on closer examination, defy coherent spatial interpretation. GAN models seem to be predisposed to producing indeterminate images, and indeterminacy is a key feature of much modern representational art, as well as most GAN art. The author hypothesizes that indeterminacy is a consequence of a powerful-but-imperfect image synthesis model that must combine general classes of objects, scenes and textures.
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44

Halligan, Peter W., and John C. Marshall. "The art of visual neglect." Lancet 350, no. 9071 (July 1997): 139–40. http://dx.doi.org/10.1016/s0140-6736(97)03165-6.

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45

Andrews, Anne M. "Visual Inspiration and Cover Art." ACS Chemical Neuroscience 3, no. 7 (July 18, 2012): 492. http://dx.doi.org/10.1021/cn300070j.

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46

Davey, Frank. "(Reading) language as visual art." Journal of Writing in Creative Practice 7, no. 1 (March 1, 2014): 37–48. http://dx.doi.org/10.1386/jwcp.7.1.37_1.

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47

Lis, Marianna. "Visual art in Indonesia. Introduction." Art of the Orient 3, no. 1 (2014): 208–22. http://dx.doi.org/10.15804/aoto201413.

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48

Wenxiao, Wang. "Art Therapy in Visual Communication." Lecture Notes in Education Psychology and Public Media 39, no. 1 (March 4, 2024): 42–48. http://dx.doi.org/10.54254/2753-7048/39/20240626.

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Art therapy, as a new type of psychotherapy, has attracted much attention in recent years for its application in the field of visual communication. In this paper, the application and effects of art therapy in visual communication are discussed in depth through a comprehensive literature review and case study. It is found that art therapy helps individuals explore emotions and solve psychological barriers through creative artistic expression, and can promote self-knowledge and regulate emotions. Visual communication design provides individuals with a non-verbal way of expression, which makes up for the emotional dimension that is difficult to cover with words. In addition, by presenting actual cases, this research found that art therapy has achieved significant results in problem-solving and psychological rehabilitation. Therefore, this study emphasizes the importance of art therapy in visual communication practice and provides a theoretical and practical basis for further exploration of the field.
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49

Aprotosoaie-Iftimi, Ana-Maria. "2. The Openness of the Visual Art Curriculum towards a New Visual Art Language." Review of Artistic Education 12, no. 2 (March 1, 2016): 175–82. http://dx.doi.org/10.1515/rae-2016-0021.

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Abstract Visual art curriculum should allow a wide range of activities to develop children's imagination and creativity, to provide a balanced framework for the harmonious development of people who can cope with the massive ammount of images that invade our daily lives. Contemporary art develops a new language - a hybrid language - which for now remains unknown to the majority of the public and it is not integrated into the Arts curriculum. General frame analysis reveals that Fine Arts are studied only up to the 10th grade, except for the humanity profile and for the vocational arts profile. School curricula stipulate fine arts study up to mid twentieth century. Openness towards contemporary art and the language of art starting with the second half of the twentieth century is quite limited even if the curriculum allows a certain flexibility in the approach.
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50

Sookkaew, Jirawat, Phanom Chongkon, and Nakarin Chaikaew. "Technology of Digital Art for Adapting Ancient Visual Art Designs." International Journal of Emerging Technology and Advanced Engineering 12, no. 8 (August 2, 2022): 125–35. http://dx.doi.org/10.46338/ijetae0822_16.

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Visual arts, design, and the creation of visual arts have been beginning along with human life for a long time. They have evolved in parallel together. The creation of human visual art is driven by inspiration and driven and taken to be a visual artwork. Creating digital art is a prevalent tool in today's era. It is a creative art technique that combines digital technology and the creation of visual artworks together. Bringing the cultural value of art that is the heritage of our ancestors who have created art that is considered valuable for future generations by using digital art for inheritance. It is also considered another method of transmitting, disseminating, and bringing the values of these cultural arts and cultures to be able to be inherited and passed on to the next era
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